OSLO OPERA HOUSE

OSLO OPERA HOUSE

The Oslo Opera House is the home of the Norwegian
National Opera and Ballet, and the national opera theatre
in Norway. The structure contains 1,100 rooms in a total area
of 38,500 m2 (414,000 sq ft). The main auditorium seats
1,364 and two other performance spaces can seat 200 and
400. The main stage is 16 m (52 ft) wide and 40 m (130 ft)
deep.
Architects:-Snohetta
Location:-Bjørvika, Oslo,norway
Structural Engineer:-Reinertsen
Engineering ANS
Electrical Engineer-Ingeniør Per
Rasmussen AS
Client:-Ministry of Church an Cultural
Affairs
Theatre Planning:-Theatre Project
Consultants
Acoustics:-Brekke Strand Akustikk,
Arup Acoustic
Area:-38500.0 m2
Project Year:-2007
 MAIN AUDITORIUM :

• One of the auditoriums, the smallest, has 400 seats while the main room is 1364 divided between
the stalls and four stands in a horseshoe, with a high ceiling that creates a natural sound.
• On each side of the stage are mobile towers which allow for adjustments in the proscenium width
for ballet or opera without damaging the acoustics of the hall.
• Reverberation time is fine tuned using drapes along the rear walls and control rooms for sound and
light are located to the back of the hall.
• The requirement for a long reverberation time results in a room with a large volume. In this case the
volume is increased by the use of a technical gallery which cantilevers out over the walls below,
giving the hall a T shaped section. The main structure of the stone clad roof above is included in the
volume of the hall rather than being hidden behind a false ceiling.
• The seats are designed to absorb as little sound as possible. Materials are dark timber and a specially
design orange red fabric as a counterpoint.
PLAN
SECTION
SPEAKER LOCATION
• E0-E3 are in the
stage front edge.
• C3, C4, C6 and C7
are the orchestra
loudspeakers in the
loudspeaker towers,
• C1 and C5 are the
voice loudspeakers
in the loudspeaker
towers, C2 is the
central hanging
voice loudspeaker.
• D0-D7 are the side
fill loudspeakers
under the 1st
balcony.
• A6-A9 are the 3rd
balcony fill
loudspeakers (A6
and A9 are hidden in
the back of the
follow spot room
•
Optimum acoustics have been achieved by the
following methods:
• At the sides the form reflects sound back down to the
audience whilst at the rear it sends sound in multiple
direction to avoid focusing.
• The oval ceiling reflector visually finishes the hall and also
reflects sounds in very specific ways.
• The rear walls at each level are made up of panels to avoid
focusing and to spread sound evenly through the room. The
geometry of the interlaying walls, main orchestra reflector,
and the mobile towers are modulated to scatter sound
around the space. Using timber staves of varying dimensions
to modulate sound of different wavelengths.
• All the surfaces are of relatively dense materials to avoid high
frequency vibrations. Balcony fronts are 50mm solid oak where
the rear wall panels are 100mm MDF with oak veneer.
• On each side of the stage are mobile towers which allow for
adjustments in the proscenium width for ballet or opera without
damaging the acoustics of the hall.
• Reverberation time is fine tuned using drapes along the rear walls and
control rooms for sound and light are located to the back of the hall.
• The whole chandelier can be lowered to the floor. It is also an important
acoustic reflector.
• The orchestra rehearsal room - an acoustically
sensitive space - is also located in the western part of
the building - at basement level.
• This hall is the orchestra's most important rehearsal
space and can also be used for recording purposes.
• The requirement for variable acoustics is achieved by
the use of adjustable paneling and drapes.
• The room can achieve similar acoustics to the main
auditorium. A passage from the foyer, along the
southern façade, leads to rehearsal room 1 allowing it
to be used as a public performance space.
CHOICE OF MATERIALS

• In the opera house, three main materials were specified : White stone for the 'carpet', timber
for the 'wave wall', and metal for the 'factory'.
• During the continued work on the project, a fourth material, glass, which allows for the
exposure of the underside of the 'carpet', has been given specific attention.

STONE

• The Italian marble is a stone. It has the necessary technical quality

in terms of stability, density, and longevity.
• The accessible area of the 'carpet' is approx. 18,000 m2.
• It works like reflective surface.
• The surface treatment of the stone, its pattern, cuts and lifts
which create a shadow play, have been designed in close
collaboration with the artists. The white marble is ‘La Facciata‘.
TIMBER

• Oak is used for both the 'wave wall' and the main auditorium For the
wave wall it has a light and varied surface.
• Oak is used throughout for the floors, walls and ceilings.
• The wave wall has a complex organic geometric made up of joined
cone shapes.
• It is also an important acoustic attenuator within the foyer space.
• Inside the auditorium oak is used because of, It is dense, easily
formed, stable and tactile. The oak has been treated with ammonia
to give a dark tone.
• oak is used for floors, walls, and ceilings, as well as balcony fronts,
and acoustic reflectors.
METAL

• After a consideration of aesthetics, longevity,

malleability and the possibility to make very flat
panel, aluminum was chosen.
• The panels were punched with convex spherical
segments and concave conical forms.
• In all, eight different panels were designed
which give a constantly changing effect
depending on the angle, intensity and colour of
the light playing on them.
• It is good reflector that reflect the out side
sounds.
GLASS

• The high glass facade over the foyer has a

dominant role in the views of the building from the
south, west, and north.
• The glass façade is up to 15 meters high.
• Thick glass of this sort tends to be quite green
rather than transparent. It was therefore decided
that the façade of the opera house would use low
iron glass.
• Glass is sandwiched inside the laminates.
THANK YOU.